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Why hasn't Avid ( Digidesign) baked-in ( coded) console emulations into its Mixer?
Old 7th January 2020
  #1
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Why hasn't Avid ( Digidesign) baked-in ( coded) console emulations into its Mixer?

Just a thought.. It's the year of our Lord 2020, and this question has been rolling inside of my head for the last 4 years or so. maybe longer.

But, Why hasn't Avid ( Digidesign) baked-in ( coded) console emulations into its Mixer?

Today, we all kinds of software plugins that attempt "the console" 3rd order harmonic distortion to add the ( mojo ) to a mix. However, very few DAW manufacturers have delved into the realm of actually coding ( at the core level) Console emulations. I think Presonus Studio One( Soft Tube) and Harrison ( Mix Bus) come to mind. My "old" trusty Ensoniq PARIS Also had console emulation baked in.

But, what hasn't Pro Tools? I'll admit to anyone that I'm still not comfortable mixing in the box with Pro Tools. As I've never understood it's handling of Gain structure. Or lack thereof.

I think that should be the next mountain to climb tech that Avid should add ( Console Emulation) to application know as Pro Tools.

What are your thoughts on this? Thanks..
Old 7th January 2020
  #2
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I think Avid Heat is what you want
Old 8th January 2020
  #3
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Not just heat, but true core level DSP real-time modeling of industry consoles as it's Mixer. Start a new project, you get prompted what mixer would you like to use ( SSL, Neve, Trident) and others..


Quote:
Originally Posted by amolin View Post
I think Avid Heat is what you want
Old 8th January 2020
  #4
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Quote:
Originally Posted by jjdpro View Post
Not just heat, but true core level DSP real-time modeling of industry consoles as it's Mixer. Start a new project, you get prompted what mixer would you like to use ( SSL, Neve, Trident) and others..
What's funny about your propostion is, the designers of those console we all wish PT (or Cubase in my case) emulated were actually busting their asses to push the technical ability of the components they had available at the time to try and make their large format console mixers sound as clean and perfect as a DAW's digital mixer. How back to front is that!

Obviously they failed, and those inaccuracies of the analog paths are what we revere today.

There's a thread on Gearslutz where one of the original designers at SSL said their dream desk at the time of designing the SSL series of desks would of been the Sony Oxford digital desk, he thought the Sony Oxford EQ was a true work of art - in a way he's right.

Funny how things get turnaround and mixed up (if you excuse the pun :-)
Old 8th January 2020
  #5
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You are absolutely correct!

I can remember ( in the '80s) we were trying to keep everything as clean as possible from the two-inch 24 recorders to EQ/comp GML come to mind.

But, when we got digital in the studio, we thought we were missing something.. And, that something was the crosstalk, and third-order harmonics, and dare I say noise..

All I know, mixing in Harrison Mix Bus, Radar, Paris, Studio One, Cubendo, is a lot more sonically enjoyable than mixing in Pro Tools.( For me).

Take care.

Quote:
Originally Posted by thehightenor View Post
What's funny about your proposition is, the designers of those console we all wish PT (or Cubase in my case) emulated were actually busting their asses to push the technical ability of the components they had available at the time to try and make their large format console mixers sound as clean and perfect as a DAW's digital mixer. How back to front is that!

Obviously they failed, and those inaccuracies of the analog paths are what we revere today.

There's a thread on Gearslutz where one of the original designers at SSL said their dream desk at the time of designing the SSL series of desks would of been the Sony Oxford digital desk, he thought the Sony Oxford EQ was a true work of art - in a way he's right.

Funny how things get turnaround and mixed up (if you excuse the pun :-)
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